Compositing & Lighting Showreel 2019

I have comped the full range of elements in this project. From CG cars, firery debris and webbing, all the way to Spiderman, Mysterio, Hole to Hell and Molten Man.

For this ambitious sequence to work we had to recreate the whole square in Nuke as a DMP. I was part of a 4 man team that worked in Maya to split off low to midres geometry. In nuke we then used on set photography to create and paint projection materials to fill out every corner of the square. I was responsible for two full angles and for collecting all other materials to create and distribute the DMP for all compers.

I was chosen to start early on the train sequence to work on Array footage for the backgrounds. I was blocking all shots, stabilizing and stitching the different array angles, and creating realistic motion blur and provided all finished backgrounds for the compers to integrate.
I also fully comped one of the standout perspective problem shots and worked on tech for a handful others.
Full comp including face replacement in bottom up shot.

Adding smoke passes, debris on ground, skid marks, full replacement of front of car and tyres

For every shot full DMP ground replacement, all walls minus the shelf and windows replaced, cg instruments surrounding the chandelier, cg glass chandelier and bird cages, cg shadows.
Created DMP part SR of shelf.
Center light stand, curved stairs, windows, curtain and shelf are kept from plate.

Retime and repo of plates. Retime artifact cleanup. Keying and despilling of 3 main and multiple bg plates. Relighting all plates to fit more articulate and warm lighting and placing cards of bg crowd in nuke to fill cg environment. Creating the sky, adding cg environment and cg fg flags.
Trickiest part for the environment was to get a mouth licking look for the sweets and especially the icing on the buildings.

I was tasked to create the light rig and to light all orphanage shots to add the cg teddy bear.
I myself comped half of the shots including key and bg replacement.
This one in particular needed the girls arms fully replaced which we ended up doing with an in nuke created projection texture on an animated arm mixed together with cg light interactions and blended with plate warped arm for wrinkle details.

Light and comp for multiple shots including Antman, Ants, Wasp and miniature building.
Last shot needed a perfect blend form full cg to plate characters.

This sequence needed to look alive and reactive to the characters. For this, all interactive lighting, lightning, the red Synapse lights ground lights and facial cracks were all done in comp for full control for each shot.
Mostly full cg environment replacing the set, only the last shot was kept and graded in the FG

Full shot lighting and light rig creation for first shot.
CG Black Panther replacing and matching plate look, car damage continuation, interior and windscreen replacement.
Second shot has full cg Black Panther, cg glass, added muzzle flashes and interactive light through rendered interior. Paint out of old elements and addition of reflections on and interaction on front windscreen.

This shot needed the inclusion of multiple cg cars to fill the intersection and create believable interaction with the real cars.
The occlusion of plate light and added car reflections were the difficult part in this shot.

This shot consists of three plates, real life BG footage on Bridge and two stitched bluescreen plates in a sound stage with a car that had it's ceiling removed and no windows.
Lighting and comping of FG car hood, windscreen, windows, interior and exterior ceiling, rear window and fx glas and all lighting interactions. CG Black Panther and Puck on Lexus. Added Muzzle flashes and sparks.
FX glas look and refractions were heavily enhanced in comp using AOVs and custom mattes to satisfy the clients changing needs.

This shot was selected for an early trailer and so the time frame was short. It was the first time the company lit with Katana so we were learning how to use the program while doing full cg shots in a very short time from concept to trailer final.
Client provided plate with frontal view of street and lot's of secondary photography of buildings. Each artist for their shot rebuild their part of the street in nuke with projection textures mostly stitching and painting ourselves.
Full light rig creation and compositing of shot.

In a team of two, I was tasked to layout and light the full garage. We were provided simple geometry from client that after refinement of the asset team was then placed by the two of us. Lighting of the tunnels, ship podiums, creating walkways, ship placement were all part of the task.
I also created the small hologram version of the garage and was responsible for setting up the sequence lighting setup to run it out for all shots.

The original plate had both buildings way closer together. I was tasked to move the SL building further away to give more space for Spiderman. This resulted in a complete rebuilding of it because of the perspective shift.
Light rig creation and full comp of the shot.

Full comping and lighting of a whole variety of elements: Spiderman eyes, destruction elements, gravity gun, webbing, setting the look for electrical webbing, shocker gauntlet, welding gun, fridge door portal cube and induction plate.

We needed to replace the entire upper body of Spiderman from the hip upwards because of the seamless nature of the suit and the client request to replace the hood.
Full creation of light rig and full comp to match the original look as perfectly as possible.

Comping of mote schools, smoke rings and creating the necessary depth perception between them and the character.
Also working on lab shots and comping the flying lamps.

Contributing on creating the look for the mirror portal, comping mirror shards in multiple shots and the full portal in this first shot. Recolouring buildings, shard and light reflections.

Working directly with the fx artist to create the look and composite the spark portal for the entire sequence.
Full lighting and compositing of buildings, fractals and cg characters. Relight of plate characters.

Lighting and comping of shots with the axe stuck in the container.

Comping of full cg Deadpool. Reflections of Deadpool on wet floor and puddles created in comp mixing a sharp and soft reflection pass, keying, masking and softly dissolving in necessary areas.

Full head replacement, knife and blood lighting and comping.

Light and comp of the feeders. Integrating the cg elements into the firelit dark environment was the main difficulty in these shots.

Hero shot in the development of the fire portal in which I worked directly with the fx artist to get to the final look.
Full control over the lighting, reflection, interactive light and compositing of the elements.